Word: tone
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Dates: during 1970-1979
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...second style is represented in "Deserts," a duo mime with a surrealist tone. The piece is moribund in mood, somewhat reminiscent of Beckett. It is echoed by the somber song of a cello on stage, and two clarinets serenading one another from the balconies of the hall. In another piece, Kyr also uses an unusual spatial arrangement of sound. "Struggles in Passing," a dance mime about the nature of work, is accompanied both by a tape produced using subway noises and conversations, and by the ensemble of flute, tow clarinets, celesta and piano. The sounds of the instruments filter...
...other hand, Rushen has a unique and vital quality of softness not often found in her jazz contemporaries. Her voice tingles, hums and vibrates on combination of Minnie Ripperton and notes from high to low, sounding like a Denice Williams. With the exception of occasionally explosive tracks, the tone is predominantly soft and smooth. She plays a masterful improvisation of the keyboard in an acoustic piano solo, "Hang it Up." In "Changes (In Your Life)," Rushen arranges the guitars and seasons the sound with a peppery synchronization of handclaps and fingersnaps...
Quintet's grave tone notwithstanding, the dialogue is often so uplifting and epigram matic that it could almost be set to a Rich ard Rodgers score...
Wifemistress is several shades less solemn. Its structure in fact is that of a sex farce, though its tone is more appropriate to a sentimental comedy. The disparity may arise because Director Marco Vicario (Homo Eroticus) can't quite manage the French trick of finding cuckoldry hilarious. The situation, at any rate, is satisfactorily ridiculous. Luigi (Marcello Mastroianni) is a wealthy wine merchant, an idealist and a writer of tracts on the equality of women. He is also a great philanderer, with mistresses and bastard children all around Italy. But what has that to do with idealism...
...does not attempt an Elvis impersonation, although he moves with gymnastic ease and I curves his lip well. Russell plunges deeply into Presley's psyche, bringing all the talent and all the obsession right to the surface. He and Director Carpenter contrive an introduction that eerily sets the tone of the movie and fixes their subject all at once: his I shadow deep on a white wall, Presley sits alone in a dark Las Vegas hotel room, dressed all in black, watching television from behind dark shades, waiting for the night and his first show. It's good...